American Cinematographer - December 2014 - 95

boxes. The Wasp Par is also compatible
with ETC Source Four lens barrels, which
can be mounted directly on the front of
the lamp to create a daylight spot.
The Hive family of products utilizes
plasma lighting technology to run on 5090-percent less energy than conventional
studio fixtures. Hive's lamps use a single
plasma source that produces flicker-free,
full- and even-spectrum, daylightbalanced light with a CRI of 94. Each of
Hive's universal orientation bulbs lasts for
10,000+ hours and generates little to no
heat.
For additional information, visit
www.hivelighting.com.
Rotolight Illuminates Neo,
Enhances Anova
Rotolight has introduced the Neo
on-camera LED light. Featuring bi-color
LED technology with excellent color
rendering, the Neo offers accurate electronic color-temperature display to enable
easily tunable color. The fixture delivers
1,077 lux at 3' while providing a soft ringlight effect.
The Rotolight Neo's 120 LEDs offer
full-spectrum
color reproduction - they can
be dialed from
3,150K
to
6,300K in 10degree steps -
with an overall
CRI of 95. The
fixture boasts an
intuitive dualrotary encoder
control system
for rapid brightness and colortemperature adjustment, and Dynamic
Drift Compensation for smooth dimming
from 100-0 percent with no color shift.
Drawing only 9 watts at full power, the
Neo can be powered by six AA batteries,
an AC adapter or D-tap cable.
Rotolight has also upgraded its
Anova EcoFlood family of LED fixtures
with the introduction of the Anova V2
fixtures. The Anova V2 EcoFlood LED
Floodlight boasts enhanced color render-

ing with an overall CRI of 95 and a skintone CRI of 98; the unit also delivers a
significantly brighter output than earlier
Anova units. The Anova V2 family also
includes the Anova Bi-Color V2 and
Anova Solo single-color floodlights; the
latter are available in 5,600K or 3,200K.
The complete range of Anova products
are available with either an UltraWide
100-degree beam angle or Standard 50degree beam angle.
Incorporating Rotolight's constant
current dimming control system, all
Anova V2 models are totally flicker-free
and have been extensively tested with
Vision Research Phantom Flex cameras
rolling at speeds up to 7,000 fps. Drawing only 41 watts of power, the Anova
fixtures can be powered by a standard VLock or Gold Mount battery for up to
four hours.
For additional information, visit
www.rotolight.com.
PrimeTime Highlights
SLED Series
PrimeTime Lighting Systems, Inc.
has introduced the SLED series of LED
fixtures. The SLED range currently
comprises two fixtures, the 1SLED and
the MSLED, both of which feature singleshadow rendering with a consistent softlight output, top-quality LEDs with a
50,000-hour rated lifetime, a high CRI,
flicker-free performance, local dimming,
remote dimming via optional DMX512
signal decoders, and all-aluminum
construction. The lights are built by hand
in the United States.
Based on PrimeTime's 1SL fixture,
the 1SLED can be used as key, fill or
backlight in a variety of applications. The
MSLED, based on PrimeTime's MSL
95


http://www.maccam.tv http://www.hivelighting.com http://www.rotolight.com http://www.maccam.tv

American Cinematographer - December 2014

Table of Contents for the Digital Edition of American Cinematographer - December 2014

Contents
American Cinematographer - December 2014 - Cover1
American Cinematographer - December 2014 - Cover2
American Cinematographer - December 2014 - 1
American Cinematographer - December 2014 - 2
American Cinematographer - December 2014 - Contents
American Cinematographer - December 2014 - 4
American Cinematographer - December 2014 - 5
American Cinematographer - December 2014 - 6
American Cinematographer - December 2014 - 7
American Cinematographer - December 2014 - 8
American Cinematographer - December 2014 - 9
American Cinematographer - December 2014 - 10
American Cinematographer - December 2014 - 11
American Cinematographer - December 2014 - 12
American Cinematographer - December 2014 - 13
American Cinematographer - December 2014 - 14
American Cinematographer - December 2014 - 15
American Cinematographer - December 2014 - 16
American Cinematographer - December 2014 - 17
American Cinematographer - December 2014 - 18
American Cinematographer - December 2014 - 19
American Cinematographer - December 2014 - 20
American Cinematographer - December 2014 - 21
American Cinematographer - December 2014 - 22
American Cinematographer - December 2014 - 23
American Cinematographer - December 2014 - 24
American Cinematographer - December 2014 - 25
American Cinematographer - December 2014 - 26
American Cinematographer - December 2014 - 27
American Cinematographer - December 2014 - 28
American Cinematographer - December 2014 - 29
American Cinematographer - December 2014 - 30
American Cinematographer - December 2014 - 31
American Cinematographer - December 2014 - 32
American Cinematographer - December 2014 - 33
American Cinematographer - December 2014 - 34
American Cinematographer - December 2014 - 35
American Cinematographer - December 2014 - 36
American Cinematographer - December 2014 - 37
American Cinematographer - December 2014 - 38
American Cinematographer - December 2014 - 39
American Cinematographer - December 2014 - 40
American Cinematographer - December 2014 - 41
American Cinematographer - December 2014 - 42
American Cinematographer - December 2014 - 43
American Cinematographer - December 2014 - 44
American Cinematographer - December 2014 - 45
American Cinematographer - December 2014 - 46
American Cinematographer - December 2014 - 47
American Cinematographer - December 2014 - 48
American Cinematographer - December 2014 - 49
American Cinematographer - December 2014 - 50
American Cinematographer - December 2014 - 51
American Cinematographer - December 2014 - 52
American Cinematographer - December 2014 - 53
American Cinematographer - December 2014 - 54
American Cinematographer - December 2014 - 55
American Cinematographer - December 2014 - 56
American Cinematographer - December 2014 - 57
American Cinematographer - December 2014 - 58
American Cinematographer - December 2014 - 59
American Cinematographer - December 2014 - 60
American Cinematographer - December 2014 - 61
American Cinematographer - December 2014 - 62
American Cinematographer - December 2014 - 63
American Cinematographer - December 2014 - 64
American Cinematographer - December 2014 - 65
American Cinematographer - December 2014 - 66
American Cinematographer - December 2014 - 67
American Cinematographer - December 2014 - 68
American Cinematographer - December 2014 - 69
American Cinematographer - December 2014 - 70
American Cinematographer - December 2014 - 71
American Cinematographer - December 2014 - 72
American Cinematographer - December 2014 - 73
American Cinematographer - December 2014 - 74
American Cinematographer - December 2014 - 75
American Cinematographer - December 2014 - 76
American Cinematographer - December 2014 - 77
American Cinematographer - December 2014 - 78
American Cinematographer - December 2014 - 79
American Cinematographer - December 2014 - 80
American Cinematographer - December 2014 - 81
American Cinematographer - December 2014 - 82
American Cinematographer - December 2014 - 83
American Cinematographer - December 2014 - 84
American Cinematographer - December 2014 - 85
American Cinematographer - December 2014 - 86
American Cinematographer - December 2014 - 87
American Cinematographer - December 2014 - 88
American Cinematographer - December 2014 - 89
American Cinematographer - December 2014 - 90
American Cinematographer - December 2014 - 91
American Cinematographer - December 2014 - 92
American Cinematographer - December 2014 - 93
American Cinematographer - December 2014 - 94
American Cinematographer - December 2014 - 95
American Cinematographer - December 2014 - 96
American Cinematographer - December 2014 - 97
American Cinematographer - December 2014 - 98
American Cinematographer - December 2014 - 99
American Cinematographer - December 2014 - 100
American Cinematographer - December 2014 - 101
American Cinematographer - December 2014 - 102
American Cinematographer - December 2014 - 103
American Cinematographer - December 2014 - 104
American Cinematographer - December 2014 - 105
American Cinematographer - December 2014 - 106
American Cinematographer - December 2014 - 107
American Cinematographer - December 2014 - 108
American Cinematographer - December 2014 - 109
American Cinematographer - December 2014 - 110
American Cinematographer - December 2014 - 111
American Cinematographer - December 2014 - 112
American Cinematographer - December 2014 - Cover3
American Cinematographer - December 2014 - Cover4
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